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Argument: The Giver is not just a 'controversial' and 'banned' book, but it also has much more depth in it that meets the eye; set within a distopic setting, Lowry uses the setting to construct a way to see into today's morality code as well as the reader's. Claims: *Irony over the censorship of the book *different views on what the book's meaning(s) are Evidence: *Lowry foreshadows this perplexing but hopeful ending when she describes Jonas as Keeper of the "memories of the whole world." Her message, finally, is that one cannot ignore uncomfortable memories; one must embrace a "whole" vision, which contains joy as well as pain, if one (or one's children) is/are ever to feel "at home" in the world. *Through Jonas, Lowry argues for the preservation of a kind of creative vision, a vision which every community needs if it is to benefit from its citizens' differences and input. *The irony of censorship attacks on the novel is that The Giver dramatizes the plight of an individual living in a society that censors its peoples' language, emotions, and behaviors. This irony is compounded by the fact that most who would like to see The Giver censored confess that they have never read the novel in its entirety.

Argument: The author in his review, "Teen Angel" conceives the idea of tragic romances and how they make for the best love stories, specifically concentrating on "A Walk to Remembers" emphasis on religion coming between a forbidden love. Claims: Religion makes for an interesting love conflict Setting change to modern times makes a difference to the style of writing and overall effect Spark's writing is predictable and follows similar themes in multiple texts Evidence: "Normally, the insurmountable problems in teen love stories are differences in money, class or race. Religion rarely enters the picture as a reason for a couple to stay apart or to try and get together. What is intriguing about A Walk to Remember, which is loosely based on the 1999 novel by Nicholas Sparks, is that one member of the couple is initially considered undesirable and unattractive because of her devout Christian beliefs. The question is: Is her faith an insurmountable obstacle to romance?" "Whereas the novel takes place in the 1950s, screenwriter Karen Janszen (Digging to China) sets the romance amid the permissive and sexually overt teen culture of today." "Those familiar with the other books by Nicholas Sparks (including Message in a Bottle) may guess what the couple's real insurmountable problem turns out to be."

Argument: Women in Dickens novels represent the common worker. Dickens found it important to emphasize that men and their respective mates should be saved from themselves. Main Idea of Argument: In Charles Dicken's Great Expectations Estella is a strong female, taking the lead of the relationship (or lack of) between Pip and herself. As opposed to doing only what she should be doing as a woman in the era. Comparatively, the workers of the era in which the novel was written were oppressed, but still maintained a strong facade. Evidence: 1)"In his portrayal of women in Great Expectations, Dickens saw the world with almost the same unbalanced perspective as does Pip when Magwitch turns him upside down in the churchyard" (Schechner 4). 2) "Crying over lost women, repentant prostitutes, and dying impoverished girls--provided none of these women were wives or political reformers--were causes Dickens loved to champion and did" (Schechner 7). 3)" Dickens wrote as if he believed a woman's place was mostly in the home, doing domestic things and supporting her husband. Mrs. Joe Gargery is an example of what happens when a woman tries to boss a man. Even though Mrs. Joe stays home by the hearth, when she gets too assertive she becomes very unattractive and may even deserve a strong smack on the head" (Schnecher 9). 4) Dickens is unsympathetic with women who socially rebel and who have public causes. Such women become either terrible or ludicrous" (Schnecher 10).

Argument: While often describes as an angry, and early feministic character, Jane Eyre is actually quite shameful in her narration. Claims: Jane Eyre's character is introduced into the story with the exclamation "For shame! For shame!" directed at her. Later, throughout the story, she narrates with the angry and feminist attitude that many critics quote her for, but also with a sense of shame that Charlotte Bronte could probably relate to. Evidence: "This cry 'for shame' suggests that shame constitutes both an introduction of 'Miss Eyre' to the reader and an interpellation of Jane into the contours of gendered interiority and social relations," (Bennett 1).

Argument: Orwell's 1984 is a work of fiction reflecting real-life experiences. Orwell's personal life, from his upbringing to his political experiences, played an important role in the novel. Claim: Inspiration for "Big Brother" came from brutality Orwell experienced at an early age. Beginning in preparatory he was viciously tormented. Later he witnessed oppressive cruelty while stationed in Burma. After Burma Orwell chose to live among the poor to experience poverty. His decision would later give birth to "the proles". Through Orwell's experiences he was able to create fiction based on his real events and people. The novel was intended to warn against corruption in any society after witnessing such corruption in the Spanish Civil War that forced him to flee the country. Although it was wrongly mistaken as a prophecy or attack on socialism it was a warning to all countries the results of corruption. Evidence: "Orwell wrote Nineteen Eighty-Four toward the end of his career, at a point in his life when many of his experiences and political complexities had aged with him through a decades-long internal contemplation" "he intended to warn society of the potential perversions of bureaucracy and the state, the perversions of power that he had witnessed over the previous decade, in a variety of forms, in England and Spain" "His work for the POUM had shown him the contradictions of official appearance, doctored news, class conflict, and the basic human desire for power. Lines can easily be drawn to the thematic structure of Nineteen Eighty-Four"

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